The second narrative technique employed by Hugo that promotes the reader's active involvement in his novels is the use of digressions
that add another destabilizing dimension to the narrator's voice through the enlargement of the narration's scope and changes in register and tone.
Ayant montre comment ces trois digressions
se font non point seulement echo mais peuvent plus precisement etre considereres comme "interchangeables" et se lire comme les diverses manifestations d'une digression
unique, je m'attacherai a mettre en lumiere la fonction metatextuelle que ces textes jouent pour l'ensemble du recit.
The second part of the novel has fewer digressions
and temporal shifts.
Hartley's account of his romance with an American photographer can get a bit cloying, and his repeated digressions
into the life of Peter Davey, while brilliantly reported, lack the compelling drive of the author's own experiences; Davey simply isn't that interesting.
Skip over the digressions
and enjoy a unique perspective of black modernity.
the women in black march in solemn unison, darting momentarily into squiggly digressions
Another instance of Menippean influence can be seen in Jonathan Swift's Tale of a Tub, which contains a relatively simple allegory of Reformation history (the Tale proper) that is interrupted by a series of editorial digressions
The story, intentionally disorderly in structure, is a burlesque recitation of Jacques's love affairs, as told to his master, but this framework in itself is of practically no importance, since it is interrupted constantly by digressions
and stories within stories, in which the characters comment on their own tales, and even the reader is constantly brought into the narrative.
The 10 essays consider such aspects as Nestor as an example of Homer on autobiographical memory, the death of Achilles by rhapsodes, and Odysseus' ethnographic digressions
Her questions seek precision while also leaving room for digressions
In one of the film's digressions
, Padilha takes his camera to one of the city's overcrowded, inhumane jails where inmates complain of being beaten and forgotten.
Azar Nafisi, formerly a literature professor in Tehran and now director of the Dialogue Project at the Johns Hopkins School for Advanced International Studies in Washington, has tethered her own exuberant digressions
on living out this paradox to a memoir about a group of seven selected female students who, for three years, gathered in her apartment every Thursday to discuss banned works of Western literature.